So thanks to several carefully-planned Hollywoodtrips, I’ve been very fortunate to visit some really cool silent-related locations, such as the site of the former Keystone studio, Grauman’s Chinese Theater, the Roosevelt Hotel, the Chaplin studio, Buster Keaton’s gravesite, the Egyptian Theatre, Musso & Frank’s, and the closest a stranger can legally get to Buster’s Italian Villa.
About this close (before the guard comes out).
I’ve also had priceless experiences at both the Buster Keaton Convention in Muskegon, Michigan and the San Francisco Silent Film Festival. For a classic film lover, each and every one of these experiences was a dream come true–from the big festivals to the little moments like relaxing in L.A.’s Echo Park and thinking, “That’s the same lake all those Keystone comedians had to jump into!”
If the water wasn’t…questionable, I would totally jump in too.
But there’s still several places I’m bound and determined to visit one day, and as of right now these sites are in my top 6: Continue reading →
This is the final Comique Month post. Man, it’s gone by fast! A great big THANK YOU to everyone who’s been following along. If you haven’t seen much of Arbuckle’s post-Keystone work before, I really hope these posts inspired you to check it out. And I hope it will bring you as much joy as it has brought me!
The Hayseed (1919)
The Hayseed revisits Arbuckle’s beloved rural setting, with yes, another quirky small-town store. It was one of Arbuckle’s most successful shorts, popular with small-town audiences and city slickers alike.
There’s more of a plot to The Hayseed than other Comiques. Roscoe works at a village general store and is also the mail carrier (he always seemed to be a jack-of-all-trades in his films). Buster also works in the same store. Roscoe loves Molly, a country girl, but she’s also being courted by the local sheriff, played by gangly John Coogan (father of famous little Jackie). Naturally they become romantic rivals. It turns out, though, that John is not such a nice guy as he seems. Continue reading →
One of the cherries on top of the Comique sundae, The Cook is a giddy, determinedly free-spirited short that features Roscoe being an impromptu Salome, Buster Egyptian-dancing with careless abandon, and Luke the dog saving the day. It also features Goatland, and lemme tellya, more amusement parks could stand to have a Goatland. We’re missing out, my friends.
Following Comique’s move to the sunny spaces of California, the hits just kept coming. Moonshine is another highlight in Arbuckle’s filmography, considered to be one of the cleverest fourth-wall-breaking satires in Edwardian cinema. It’s also a bit of an anomaly in Arbuckle’s work, so it’s not hard to guess that Buster had a big hand in its ideas.
Now that we’re a little over halfway through Comique Month, I wanted to pause and give a nod to mighty little Luke the dog, Roscoe Arbuckle’s canine sidekick and one of silent comedy’s most talented animal stars–to be precise, one of its most talented stuntanimals.
The ambitious western parody Out West is one of the most under-analyzed of the Comiques, although it’s sure been widely discussed. This is because of a stunningly racist scene halfway through the film, which tends to, shall we say, distract us from the rest of the content. But that content is important because, as I’m going to argue, it could well contain the clearest early example of Buster Keaton’s influence on the Comiques.
For decades, Coney Island was one of the most-watched Comiques, thanks to 16mm copies being in the public domain. Since few other Arbuckle films were available, it was sometimes cited as the “only” film where Buster actually smiled on camera–not true, as we’ve seen. Still, we’re lucky the lovable, crowd-pleasing Coney Island got to be one of those available few. It’s not only very funny, but treats us to all the period charm of an Edwardian afternoon at the famed amusement park.
Comique number four, and number three in terms of Buster Keaton appearances, was the cheekily-titled His Wedding Night–which of course offers nothing salacious. While not usually considered one of Arbuckle’s more outstanding works, it offers loads of fun gags and some “I can’t believe I’m seeing this” Buster scenes. Continue reading →
Let’s get started with the film reviews! To keep things humming along, I’ll be writing about two Comiques at a time, keeping the reviews a bit shorter than usual. Enjoy!
The Butcher Boy (1917)
One of THE most historically important of all silent comedy shorts is The Butcher Boy, the first release from Roscoe Arbuckle’s very own studio. It’s historic for giving the world its first glimpse of Buster Keaton on the big screen, which of course has inspired no end of fan joy and excited analysis. But even aside from that mighty privilege, it’s simply a darn excellent short. Continue reading →
This is post #1 of Comique Month! (I’m so excited, I’ve been wanting to write about this amazing studio for ages.) Enjoy, and check back often throughout the next thirty-one days as we dive into incomparable world of the Comique Film Corporation!
The Comique films! As cheerful as a sunny summer’s day and as energetic as jazzy music, Roscoe Arbuckle’s 1917-1919 series of two-reelers should be required viewing for anyone even remotely interested in silent comedy. They’re goofy, clever, cheerful, inventive, and contain some of the best choreographed slapstick sequences the Edwardian era ever devised. Chaplin’s late 1910s Mutuals may get the most applause, but the “Comiques” (as they’re often called) definitely deserve the most high fives.
At least three for this publicity photo alone.
But despite some excellent restorations, Arbuckle’s Comiques are still somewhat overlooked. They’re usually credited as containing Buster Keaton’s earliest film appearances, and…that’s about it. If they’re discussed in any depth at all, it’s usually in order to analyze Buster’s performances, speculate on which gags might be his, and to compare them with his later, independent work. In other words, the Comiques are held up as examples of decent enough, admittedly energetic films that are of course farinferior to Buster’s own 1920s shorts. Continue reading →